Sentences with phrase «nature of the subject material»

As it is, the ultimate message - that there can be no peace without negotiation - is admirable, but somewhat wishy - washy given the politically - charged nature of the subject material.

Given the high - minded nature of the subject material in tandem with the technical accomplishment of the previous series, Wayne's creation of the Tamarind Lithography Workshop in 1960 seems a perfect compliment to the artist's passion for print as a fine art medium.

Not exact matches

A kind of rational intuition is needed to perceive the general principles which are there ready - made in actuality.6 Or if patterned on the genetic - functional model, the generalizations have as their subject - matter «distinctions that arise in and because of inquiry into the subject - matter of experience - nature, and then they function or operate as divisions of labor in the further control and ordering of its materials and processes» (DWP 175).

Science as it is usually understood is simply incapable of addressing the question of the possible purpose of nature since the material it deals with has already been abstracted out of the «qualitative» realm of value and placed in that of the merely quantifiable, subject only to mathematical calculation.

When that material is cooled down to near absolute - zero temperature and subjected to a strong magnetic field, the amount that it can conduct becomes «quantized» — fixed to a fundamental constant of nature and can not change.

[viii] «No services, material, or equipment of any nature shall be provided to any private school or agency subject to sectarian (i.e., religious) control or influence.»

Taking as its subject the very worst aspects of human nature - our propensity for crime, cruelty, and bloodshed - it shapes that disruptive material into order, wholeness, and meaning.

This is cast from, and joined with, a found junk shop mirror that, by its nature, embraces arbitrariness, material history and the narrative reward of subject matter.

Among the themes explored are the establishment of new definitions of painting; the introduction of movement and light as both formal and idea - based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology and humankind; and the production of live actions or demonstrations.

The works are displayed mounted to materials such as aluminum or plexiglass, though rather than using these materials in their traditional mounting methods, the images are adhered to the surface and leaned on shelves or stood on the floor, with exposed sections of their mounting substrate and their freestanding nature highlighting the object qualities of the prints, along with their physical connection to the depicted subjects.

Others work in sculpture, often fashioning their works from materials that belie the pedestrian nature of the subject - Ai Weiwei's jar of hundreds of sunflower seeds, made from hand - painted cast porcelain, or the work of Yoshihiro Suda, who creates weeds that «grow» from the gallery floor, carved by hand from magnolia wood.

James Dean Erickson, an artist whose paintings explore the space between realism and abstraction to elicit the ephemeral and enduring qualities of nature, will lead the Painting Traditional Subjects with Modern Material workshop and Simplicity and Synthesis lecture in February.

«Not only in its subject matter but also through the energy and visceral nature of the materials I use.

Throughout his career Terry Winters has explored a wide range of subjects from biological processes, scientific and mathematical fields, the structural underpinnings of nature, technology and the human mind as source material for his paintings, drawings and prints.

His subject matter includes sources as diverse as Teutonic mythology and history, alchemy, and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw, and all manner of organic material.

The arbitrary nature of events that inform the significance of sites and monuments is explored by Deimantas Narkevičius, while works by Geoffrey Farmer and Goshka Macuga incorporate material culled from books, emphasizing that art historical narratives - and culture in general - are collective in scope and subject to remaking and reinterpretation.

Nasher curators chose pieces for the exhibition that will give viewers a strong sense of the variety of materials and subjects Penone tackles along with the corresponding sense of depth he's explored with his main motif, an «analogy between the way nature creates and the way artists create.»

By examining wide - ranging and diverse representations found in art, nature, physics, economics, history, science, music, medicine, and many other subjects, the study of proportion uncovers the natural patterns that are used to create everything in the material world.

However, the artist's aesthetic style also emphasises the nature of space and surface: whether through the inclusion of architecture or her examination of the skin, which paradoxically separates the subject from the world but is nevertheless involved with it in an exchange of materials.

THE WORK Ben Buswell's sculptural work spans media from ceramics and plastics to incised photographs, subjecting these materials to physical processes such as repetitive mark - making, melting and tearing to highlight the temporal nature of the work.

Rooted in the artist's inquiries into how and why we order the world around us, these multi-faceted projects transform industrial material into experiential, theatrical environments that humanize the rigid nature of their subject matter.

His subject - matter ranges over sources as diverse as Teutonic mythology and history, alchemy and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material.

Among the themes explored are the establishment of new definitions of painting (such as the monochrome, serial structures, and fire and smoke paintings); the introduction of movement and light as both formal and idea - based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology, and humankind; and the production of live actions or demonstrations.